To
celebrate we are posting an interview that Richard and I conducted with
Alexander at the end of last year. Alexander, who performs internationally
as a soloist, recitalist, chamber musician and concertmaster, studied at
the Mozarteum Salzburg with Ruggiero Ricci and Paul Roczek. His performances
are critically acclaimed; Graham Caldbeck quite rightly described him as “outstanding
– as a soloist, as a leader and as an all-round nice guy”.
In
the video below you can hear Alex discuss musical inspirations, classical
instruments, venues, audiences, family and more:
Thank
you to Alexander for given us the opportunity to sit down with him, it was a
wonderful afternoon and gave us some fascinating insights into life as a
classical musician.
Don’t
forget you can buy tickets for The Hohenthal Trio which takes place on Friday
27th Febuary at 1pm here.
You
can also find out more about our March concert ‘Classical Celebration II’ by
visiting our events page or the main Corn Exchange website.
To
find out more about Southern Sinfonia please visit our website, Facebook or
Twitter page.
Everyone
at Southern Sinfonia was recently thrilled to announce that our March concert will contain a very exciting performance fromMatthew Gee who joins us for ‘Classical Celebration II’. Our
music director, David Hill, will conduct the concert also featuring Mozart and
Elgar.
As previously
announced the concert, which takes place at St. Nicolas Church, Newbury on
March 27that 7.30pm
will feature the following programme:
Elgar - Serenade
for Strings, op. 20
de Souza -
Trombone Concerto
Soloist - Matthew
Gee
Mozart -
Symphony no. 40 K.550
Conductor -
David Hill
The
orchestra will play a rare performance of Southern Sinfonia’s Artistic Advisor,
Chris de Souza’s, Trombone Concerto. The concerto was last performed in 2008 by
local lad Michael Buchanan - a previous winner of our Young Musician of the
Year competition. Esteemed soloist and Chairman of the British Trombone
Society, Matthew Gee, will perform the concerto.
Matthew
currently holds the position of principal trombone for the Royal Philharmonic and
Aurora Orchestra. Hehasplayedwithsomeofthefinestorchestrasandchamberensemblesinthe world andworkedwithsomeofthegreatestconductorsof thisgeneration. We
are extremely excited for Matthew to join us for a rare performance of Chris' wonderful
piece. Listen out for what is a simply gorgeous middle movement sandwiched by
some outstanding Trombone virtuosity showing the extremities of what the
instrument can achieve!
Edward Elgar wrote Serenade for Strings in March
1892; it received its first performance by Worcester Ladies Orchestral Class,
with the composer conducting. The piece is actually dedicated to organ builder
and keen amateur musician Edward Whinfield. The serenade is a firm favourite
amongst classical music fans, and will provide a beautiful opening to the
concert.
Written in 1788, Mozart’s Symphony no. 40 is
often referred to as the Great G minor Symphony. Incidentally, it is one of
only two of Mozart’s 41 symphonies that he wrote in a minor key. It is often
suggested that Mozart never actually heard the piece; some suggest he never
even wanted it to be played. This has been disputed, however, by numerous music
academics over the years following studies of his letters. The piece contains
one of Mozart’s most famous motifs, used countless times in advertisements and
on television programmes.
In the meantime, The Hohenthal Trio will visit the Corn Exchange, Newbury for a lunchtime recital on 27th February.
Southern Sinfonia leader Alexander Hohenthal will play alongside Nick
Stringfellow on cello and pianist Eleanor Hodgkinson. The trio will play two
piano trios by Mozart and Mendelssohn. We can’t wait to hear them!
To book tickets for any of our upcoming events,
please visit the Corn Exchange website, www.cornexchangenew.com,
visit the box office, or call 08455 218218.
To find out more about Southern Sinfonia please visit our website, Facebook and Twitter.
I
have talked on previous blogs about the power of music in evoking memories and
emotions. Specifically, I mentioned the concerts Southern Sinfonia performed last
year which were dedicated to those who lost their lives in World War One. This
time I am thinking about World War Two.
Last
week marked the 70th anniversary of the
liberation of Auschwitz-Birkenau. Out of all the horror that occurred during
the war at this camp, and many others, there is one small piece of salvation
that stands out to me as a musician. Recently, Stephen Fry was filmed in conversation with a lady named Anita Lasker-Wallfisch. Mrs
Lasker-Wallfisch was one of the lucky few that managed to survive her time in
the hell that was Auschwitz.
Lasker-Wallfisch
puts her survival down to her ability to play the cello. In a number of camps
across Europe, it was fashionable for the Nazis to form orchestras or bands
with prisoners who were musicians; it was even sometimes seen as a status
symbol for a camp leader to have a high quality orchestra. Auschwitz-Birkenau
was no different and in 1943, a women’s orchestra was
founded. For the majority of those who could play instruments, this was a
lifeline. Lasker-Wallfisch describes her time:
“I
was extremely lucky, it was all a matter of luck you see…people often ask how
can you possibly survive that, I was one of the very few people to survive a
year in Auschwitz, nobody survives a year in Auschwitz, because of music.”
I
find her use of the word ‘lucky’ extremely interesting; say, perhaps, she
hadn’t learned the cello at an early age before being sent to Auschwitz, it is
almost certain that she would not have survived. For some, it would have been a
chance to perhaps try and forget the situation they were in, a chance to
express some emotions they were previously not able to do. For others, however,
as Mrs Lasker-Wallfisch points out, it was offensive. She explains that some of
the fellow Jews found it quite intrusive and didn’t like it (incidentally, she
says this may have been due to the fact that only around 5 musicians from the
orchestra could actually play their instrument well!)
The
type of music performed and the situations they played in brings validity to
those who weren't fans of the orchestras. The Nazi regime didn't exactly make
it a pleasurable experience for the musicians, ensuring they practiced almost constantly
in what were no doubt horrible conditions. They would also be asked to perform
for prisoners arriving on trains, as they were led straight into gas chambers.
It has been said that a regular song Nazis requested the orchestras and bands
to play on repeat was “J'attendrai ton retour”, literally meaning “I will wait
for your return”; a quite ironic song to those already akin to the events
taking place. Additionally, they would play pompous, patriotic German marches; it
is impossible to imagine how degrading and torturous it must have been for the
prisoners to play such material.
I
find Mrs Lasker-Wallfisch’s story extraordinary. To think that music and her
ability to play the cello ensured her safety in a Nazi war camp is quite
astounding. Despite the differences in their beliefs, and the way the Nazis
treated the prisoners, one thing actually is quite clear; music is a universal
language, one that all of us can understand and portray. Music is a savior for
so many people in so many differing situations, but this one really stands out;
music saved lives.
In my last article I wrote about the line between classical
music and modern music and how the former has influenced the later. This week I
want to explore an element of this that wasn’t discussed last week. The way
classical instruments (or indeed any instrument) and different arrangements can
be used to enhance a song, change its tone and make it appeal to completely
different audiences. From simply adding one new instrument to creating a full
orchestral version of a song, different interpretations of songs can create
incredible pieces of music.
‘Call Me Maybe’ by Carly Rae Jepsen performed by Ben Howard
and Band
I’ll be honest, I never thought I would write about ‘Call Me
Maybe’ on the Southern Sinfonia blog, the original version of this song is pure
pop which depending on your opinion is either catchy and fun or irritating and
childish. However when I began to think about arrangements and instruments
changing the meaning and the feel of a song, the above version by Ben Howard
was the first thing that came to my head. Despite the fact that they haven’t
changed the lyrics, stripping back the track to guitar, violin and drums and
slowing the tempo completely changes the way you view the song. Sung and
performed in this arrangement lines like “I beg, and borrow and steal, Have
foresight and it’s real, I didn’t know I would feel it, But it’s in my way”
suddenly conjures up images of yearning for someone you can’t have, compared to
the original which conjures up images of thinking someone is attractive and
forcing them to have your number.
Despite the power that can be found in changing meaning,
it’s not always the goal or indeed the reason a new version of a song can be so
powerful. Sometimes adding layers can simply enhance what is already there. I
already loved the album version of ‘The Things We Lost in the Fire’ by Bastille
but there is something inspiring about watching the below version:
‘The Things We Lost in the Fire’ by Bastille performed by
Bastille featuring Queen’s College Choir and Cambridge University Chamber
Orchestra
The combination of Queen’s College Choir, the Cambridge
University Chamber Orchestra and classical instruments such as the kettle drum
add drama, grandeur and a sense of spectacle that whilst present in the original, comes alive in this version. As well as the performances, it is also
the visuals that add this. Being able to see the amount of people contributing
to the music immediately adds a sense of occasion, placing the sense of
occasion you get from a classical concert into a modern context.
Modern technology has given all acts the opportunity to
upload covers and content onto YouTube, whether it’s a band, choir and
orchestra performing in a university or two violinists in a room:
‘I Will Wait’ by Mumford and Sons performed by Momento
The brilliant thing about this interpretation is using just
two violins, Momento manage to
turn a folk rock song into a classical piece. The incredibly clever way that
they do this is by playing the instruments in unique ways, including strumming
the violin in the way you would strum a guitar to create something fresh and
exciting. The original song is performed on a range of instruments including banjos,
keyboards and a double bass. Stripping this back to just the violin immediately
makes the piece feel classical.
You do however recognise the Mumford and Sons original, I
personally find myself still hearing that version in my head whilst
appreciating the Momento version, which is part of the joy of listening to it.
A classical interpretation that does however take me away from the original can
be found below:
‘Story of my Life’ by One Direction performed by The Piano
Guys
I can’t lie, I personally don’t mind One Direction at all, a
number of their songs have great melodies and get inside your head. Therefore I
know the original version of the above quite well, however despite this I still
feel that the version above completely transforms this song. Using a piano and
cello, The Piano Guys have created a beautiful piece of music that you loose
yourself in as your mind wonders. Which is exactly my reaction to my favourite
pieces of classical music.
When most people think of covers of modern rock songs using
classical instruments their mind potentially turns to full orchestral covers,
with acts such as the London Symphony Orchestra becoming renowned for their
covers. For me, the best example of this I’ve heard recently is this:
‘Killing in the Name’ by Rage Against the Machine arranged and
conducted by Nick Proch
Again, I am a big fan of the original version of this song
(I can’t be the only one with Rage Against the Machine AND One Direction on
their iPod can I?????) and part of the thrill of this version is knowing what
it starts as and seeing what is has become. The angry and volatile nature of
the original disappears with this arrangement, instead it transforms into a
theatrical piece of music that wouldn’t feel out of place the theme to a James
Bond movie. A friend of mine who really doesn’t like the original version said
that he wanted to purchase this version. That in many ways sums up this article
and the power of rearranging and re-imagining music. It uncovers themes you
didn’t realise were there, adds new meaning and appeals to a whole new
audience.
I love a good finale, who doesn’t? Writing one is a real art, in my opinion. To try and end what is sometimes close to an hour’s worth of music in 5-10 minutes is no mean feat. Below is a list of what I believe to be the top ten finales in classical music. Anyway, enjoy!
Beethoven - Symphony no. 5, movement IV
performed by Leonard Bernstein and the Vienna Philharmonic
“It’s ended…no it hasn’t…yes it has…no, off it goes again.” The thought
process when listening to arguably one of Beethoven’s most popular works is
something like that, anyway. This is a great example of the mastery of
Beethoven’s art; just when you think it’s all over, he recapitulates the theme
in another different way. This, accompanied with the “tonic, dominant”
repetition in the final bars show just what a finale can be; a whole lot of
fun. Bernstein’s conducting here is fascinating to watch – arms flailing
everywhere, but control second to none.
Mahler - Symphony no. 8, Alles Vergängliche
performed by Sir Simon Rattle, National Youth Orchestra of Great Britain, City of Birmingham Symphony Youth Chorus, London Symphony Chorus, Toronto Children's Chorus, Sydney Philharmonia Choirs and City of Birmingham Symphony Chorus
This was actually
one of the first pieces of classical music I listened to. My best friend at
school showed me this exact video; we plugged it into his dad’s speakers and
turned it up to full volume. I don’t think it will ever stop amazing me when I
listen to it. To go from the extremely quiet tranquillity to earth-shatteringly
loud in the space of 5 minutes is madness; it is just incredible.
Strauss - Im Abendrot from Four Last Songs
performed by Jessye Norman, Wolfgang Sawallisch and Orchestre de la Suisse
One of two peaceful and quiet finales I’ve chosen on the list. Jessye
Norman must have been born to sing this famous song cycle. The final movement
is absolute emotional heartbreak tinged with a reflective feel. When sung like
this, I can’t think of many other pieces as beautiful.
Shostakovich - Symphony no. 5, movement IV
performed by Leonard Bernstein the New York Philharmonic Orchestra
I saw this piece performed at
the BBC Proms back when I was about 16. Unfortunately it wasn’t Bernstein and
the New York Phil that day, but it certainly blew me away. Tinged with irony
against the Soviet government; you can almost hear Shostakovich laughing to
himself as those endless high A’s go on and on. The variety of speeds used by
conductors for the end of the finale is astounding. I chose this Bernstein
recording mainly because of the slowing down in tempo right at the end. So
emphatic.
Mahler - Symphony no. 9, movement IV
performed by Sir Roger Norrington the Stuttgart Radio Symphony Orchestra
(nb. movement IV starts at 54:40 on the video)
The finale of Mahler’s final completed symphony ends in utter tragedy.
As the final chord dies away with the direction “ersterbend” (dying), you can
hear the cataclysmic death Mahler is trying to portray. It couldn’t be further
away from the other emphatic finales listed here, but it still makes my list of
favourites. One of the most emotional pieces of music I have ever listened to,
our Patron does a wonderful job here with the Stuttgart Radio Symphony
orchestra.
Shostakovich - Symphony no. 6, movement III
performed by Valery Gergiev and the Orchestra of Theatre Mariinsky
(nb. movement III starts at 25:55)
Yes, I know, another Shostakovich…I only discovered this last September
and haven’t stopped listening since. Such an exciting finale to what is a rather
solemn, contemplative symphony in the opening two movements. Gergiev takes it
at the quickest tempo I’ve heard here; as a flautist I do feel for them
slightly!
Sibelius - Symphony no. 2, movement IV
performed by George Szell and the Cleveland Orchestra
(nb. movement IV starts at 28:25)
As the dramatic climax of the third movement merges into the grandioso
finale, a typically heroic Sibelius theme enters and pure music glory is heard.
As the longest extract shown here, the absolute beauty continues for nearly 15
minutes. It is one of those pieces that you just want to carry on past the end.
The heroic theme returns again right at the end played by emphatic trumpets -
classical music perfection.
Respighi - Roman Festivals, part 4
performed by Vasily Petrenko and the National Youth Orchestra of Great Britain
I only came across this piece last summer at the Proms as part of the
Roman Trilogy (Fountains of Rome, Pines of Rome and Roman Festivals). The
finale of this piece is in some ways indescribable. Presented here by the NYO
and Vasily Petrenko, it is absolute pandemonium from start to finish. Just when
you think it’s about to end, suddenly it kicks off in a different direction. An
electrifying piece to see live and an army of percussionists needed.
Tchaikovsky - Act IV, finale
performed by the Royal Swedish Ballet
What do I need to say about this? Dramatic, emphatic and beautiful all
mixed into one.
Stravinsky - Firebird, finale
performed by Valery Gergiev and the Vienna Philharmonic
(nb. finale starts at 41.30)
I really had to include this, didn’t I? This particular recording by
Gergiev and the Vienna Philharmonic is truly something to behold. Gergiev’s
control of those final brass chords is astonishing, they hit you like a wall of
sound. The most special aspect of this particular recording, though, is the
final chord. I’m not sure I knew an orchestra could keep getting louder as they
do here; Gergiev only uses his eyebrows to gesture to the bass drum player to
get louder, I wish I had powerful eyebrows…
So there we have it. I am certain that you will all have
your own preferences and favourites, just as I am sure you will disagree with a
lot of my choices. But that is the wonderful thing about classical music,
everyone has their own opinion on what is “the best”, but there really is
something for everyone.Please do
comment below with your ideas and opinions, it would be great to hear what you
think. Maybe yours will be less biased towards Shostakovich and Mahler…
